Scenes are basic building blocks of narrative. A scene can be defined as a story episode rendered fully and dramatically in order to make the reader feel she is present and witnessing the action in real time. In effective scenes, things happen and the world shifts. Secrets are discovered. Adversaries are confronted. Revelations arise. Decisions are made. When you write–especially when you rewrite–you should know what each scene accomplishes in your story. Ask yourself what function it serves. Effective scenes do more than one thing at once, but a quick inventory will help you stay on track and in action …
Tag: writing basics
QUOTE OF THE DAY–DIGGING FOR DEMONS
I’ve taken today’s quote from Les Edgerton’s nifty book HOOKED: Write fiction that grabs readers at page one and never lets them go. “The best sources for significant story problems reside within yourself in the form of your personal demons. The very best writers are those who are courageous enough to go deep inside themselves to face and expose the warts and hidden and forbidden feelings most of us want to hide from or deny, at least to others. Not everyone is able to face his demons and bring them out to the light of day, but if you …
ACTION–OBJECTIVE–PARITY!!
My previous post focused on a character’s action-objective. Now, I want to expand the discussion and consider action-objective in terms of parity. In physics, parity may be defined as an intrinsic symmetry. In terms of narrative, parity means equality. It means that you, the writer, know and understand the motivation and objective of the viewpoint character and the important non-viewpoint characters in each scene. You know what they want and why. And if you don’t know what and why yet, you discover it. For example: Say we are writing a scene from the viewpoint of Jane, a 37-year-old singer, who is engaged …
ACTION———-OBJECTIVE!!!!!!!
Writers have much to learn from actors. Actors are trained to take action in every scene. They have a main objective–win a first date, force the bad guy to show his hand, sweet-talk the doorman, seduce a rival’s hubby–and they pull out all the stops to achieve it. The objectives in each scene build toward the big story objective. If the big story has the requisite conflict, you’ll find conflict in every scene–in the form of obstacles that stand in the way of the actor achieving her goal. Obstacles may be environmental, intrapersonal, and/or interpersonal. For now, let’s focus on …
QUOTE OF THE DAY–TRUE CHARACTER
Today’s writing quote, one of my favorites on character, comes from Robert McKee’s powerful book STORY: Substance, Structure, Style, and the Principles of Screenwriting. “TRUE CHARACTER is revealed in the choices a human being makes under pressure–the greater the pressure, the deeper the revelation, the truer the choice to the character’s essential nature.” Whether you are writing a screenplay, novel, play, or memoir, I believe the quote holds true. Think about people close to you, think about yourself, think about your characters–and now make a quick list of defining, revelatory choices made. What was the context of the choice? What …
POWER OF CONNECTION, DISCONNECTION
It took me most of my life to realize I use a conversational style in my household that I call “passing ships”. (Actually my husband pointed it out.) I talk on the move, beginning a question on one side of the house and finishing it on the other. A bad habit, and I’m working to correct it. It is especially interesting because each week I spend hours on the phone talking with clients and I love giving them my full attention. No double-tasking, no daydreaming, just my full attention. And yet I’ve been lazy with my family. I thought about …
QUOTE OF THE DAY
This from Robert Olen Butler’s book FROM WHERE YOU DREAM–The Process of Writing Fiction: “What we need always to be in search of is the way in which a character’s yearning is manifested. Stories are driven forward by causality. All plot comes from the character’s trying to get something, to achieve something, wanting, desiring, longing for something. The complications ensue from the drive of those yearnings and the attempt to get around the impediments and difficulties that thwart desire.”
FICTION QUICKIE
You have a photo album, right? Those faded snapshots from childhood, the bad-hair-day graduation pic, the formal wedding portrait…and the next wedding shot from the chapel in Vegas? Or maybe you don’t keep any photos but your mom has scads. Or yours are on MySpace or Facebook. Or your ex posted a few on the net. Or (even more interesting) you’ve destroyed every likeness of yourself. Your fictional characters have their own “Kodak moments”. Take ten minutes and daydream about one of your characters and those celluloid and digital snapshots of her life. Discover one that she keeps hidden. Picture …
THE GIFT OF TIME
Last week, busy with life and various editorial projects, I found myself feeling out of touch with my novel. My writer friend Dianne reminded me of something important that I had momentarily forgotten. “Give yourself dream time and mornings,” she said. “Let the book be with you when you are drifting off to sleep, and use those first minutes of the day for writing your pages.” I took her wise advice and the reconnection to my characters and their story was immediate, vivid, and visceral. When you give yourself the gift of time, choose those golden “windows” that are your …
DANCING FORM
Today’s wise quote comes from Lisa Dale Norton’s great book SHIMMERING IMAGES: A Handy Little Guide to Writing Memoir. This particular quote applies nicely to structuring fiction as well as nonfiction. “When you get to the structure stage of composition, you have to be willing to allow the two sides of your brain to dance together, sometimes being led by the logical, I have a structure la di da side and sometimes being guided by the hey let’s let this stuff float around and show me the meaning side. That requires a leap of faith that unnerves many. And I know that. …